0:01 what's up everyone scotty from triple
0:03 studios and today i'm going to show you
0:05 how to fix your flubby guitar this is a
0:08 huge problem for low tuned guitars
0:10 especially in metal with high bpms a lot
0:12 of kick drums and a lot of bass
0:15 guitar action so let me explain what it
0:17 is what the problem is and why it's
0:19 happening and how to fix it so in low
0:21 tune guitars typically you are moving
0:23 the frequency of the notes being played
0:26 lower in the spectrum so if i open up
0:28 pro q3 here actually what i'll do is
0:30 i'll create like a little range like this
0:31 this
0:33 typically when you have a standard tuned guitar
0:34 guitar
0:37 the frequency ranges are going to be
0:40 between these two
0:41 ranges in the low end you're going to
0:44 have low end that's sort of about from
0:46 100 to whatever and this is going to be
0:48 the low end range of your guitar
0:51 as you go lower and lower lower on your
0:54 guitar tuning you actually are extending
0:56 the low range of the guitar
0:58 this causes a number of issues with
1:00 mixing metal in particular but
1:02 practically this means that the notes
1:04 are going lower in the frequency
1:06 spectrum which are creating new problems
1:08 for note separation and audio separation
1:11 in the mix so in order to fix that we
1:13 need to do what is
1:16 essentially called the andy snoop trick
1:17 now what we're going to do is we're
1:19 going to use a multi-band compressor and
1:20 in this instance i'm just going to use
1:22 the stock cubase one it really doesn't
1:24 matter which multiband you're using and
1:27 we're going to focus on the low to low
1:30 mid range to help dynamically reduce
1:33 this range only during specific parts of
1:35 the guitar parts that are being played so
1:35 so
1:37 typically what happens is you play a
1:39 palm mute you're on a low tune guitar
1:41 and then the low end energy just
1:44 significantly bumps up so what this will
1:46 look like again in practice with this
1:48 particular guitar riff which is in drop a
1:49 a
1:51 watch this region here particularly this
1:53 region of the frequency spectrum watch
1:55 the low end energy and what happens when
2:09 [Music]
2:11 so essentially when i start doing a paul
2:14 mute uh riff on the guitar i'm getting
2:17 practically a 3 db bump in low end
2:20 energy and this is a huge problem if
2:22 you're trying to get a tight mix
2:23 especially to get the low end to work
2:25 together because there's a kick drum a
2:26 bass guitar and now we're throwing in
2:29 these low down tune guitars into the mix
2:31 so what i'm going to show you is how to
2:34 use the annie sneak trick uh it's very
2:35 important to understand what you're
2:37 listening for when you use this trick
2:40 okay and just to let you know i'm doing
2:43 no processing on the bass or the drums
2:45 and there's no master chain all i have
2:47 here is to go into obs nothing is
2:49 happening but you're still going to hear
2:51 a massive difference when i turn this
2:54 multi-band on so let's go ahead i'm
2:56 going to leave this eq on and
2:57 interestingly you're going to see a
2:58 little dip in volume but you're going to
3:01 hear a huge difference so i'm going to
3:03 engage this and then i'll discuss how to
3:04 use it [Music]
3:26 [Music]
3:28 so right when the multiband is engaged
3:30 and set correctly you can hear how the
3:32 guitar is quite uniform even when the
3:34 palm mutes are happening you can hear
3:36 there's really not a gigantic bumping
3:38 volume anymore the blue blue the
3:40 flubbiness is going away and the guitar
3:42 sounds tighter that is what we're trying
3:45 to do with the any sneak trick now
3:47 what is the any sneak trick okay this
3:50 became popular with with on the andy's
3:52 mixing forums basically you would take
3:56 the waves c4 multiband and you would do
3:59 from about 90 to 240 and you would set
4:00 it accordingly but what does that look
4:03 like in practice okay so here we are
4:06 with a multi-band i have disabled every
4:08 region that i don't really care to use i
4:09 don't need the multiband to do anything
4:11 in any of these regions i'm only
4:14 concerned about the low to low mid area
4:16 now this is going to depend on your
4:18 tuning so i'm playing in drop a so you
4:21 can see here i sort of have around 92
4:24 hertz to around 300 and you can adjust
4:26 this accordingly if you're lower or
4:28 maybe a little bit higher in tuning and
4:30 the whole point is to take care of the
4:32 low-end flood that's happening during the
4:33 the
4:36 paul mutes when the base energy is
4:38 drastically increasing so now the key to
4:41 doing this what you're listening for
4:42 okay it's not enough just to put the
4:45 multiband on there because you can choke
4:48 the the power and the the the depth and
4:50 the body of the guitar by using too much
4:52 multiband let me show you what that
5:07 so we've kind of just sucked out the
5:09 body out of the guitar now like yeah
5:11 there's a multi-bank on there we're
5:12 compressing the low mids and we're
5:14 taking it out but we're actually just
5:15 sucking everything under the guitar now
5:18 the guitar has no movement it has no
5:19 life it's not interesting to listen to
5:21 anymore and that's not what we're trying
5:24 to do when we get the multiband going
5:25 all right so let me show you how to dial
5:27 this in now i
5:29 prefer to dial in these things with the
5:31 full mix going on so i can understand
5:34 how everything is working together let
5:35 me do it in solo mode so you can
5:37 definitely hear the difference and then
5:39 i'll turn on the full mix so you can see
5:41 what happens when everything is together [Music]
5:45 [Music]
5:47 so you can hear the
5:49 guitar that's what we're gonna get rid of
5:50 of [Music]
6:14 there so i'm doing around 6 db gain
6:16 reduction during the truck the massive chug
6:18 chug
6:20 peaks with the low end you can still
6:22 hear that there's a little bit of depth
6:24 to the guitar there's still low end body
6:26 to it all right so we're not actually
6:28 trying to kill all of the low end out of
6:30 it we're just trying to clean it up a
6:32 little bit and tighten it so this is a
6:34 technique to tighten the low end of your
6:36 guitars you don't want to completely
6:38 nuke this area and kill that low in
6:40 energy but you want to start thinning it
6:42 out a little bit and
6:44 kind of taking care of it so things like
6:46 the bass guitar can handle this
6:48 frequency range which is what it was
6:50 designed to do alright so let's hear the
6:54 difference with everything playing [Music]
7:11 [Music]
7:13 so it was very obvious when the
7:16 multiband was enabled the guitar was
7:18 quite uniform right we could still hear
7:20 the low end coming in and we have that
7:22 low end depth that we look for in the
7:23 guitar but it wasn't
7:25 overtaking the low end like when i took
7:27 it off you could clearly hear how the
7:29 low one was getting out of control and
7:32 masking the bass guitar okay so this is
7:34 precisely why
7:37 you need to use the annie sneak trick to
7:39 help take care of these frequencies in
7:41 the lower part of the guitar especially
7:43 when you're down tuning now you can
7:45 still use this if you're doing standard
7:46 tuning and drop d and stuff like that
7:49 you just wouldn't have to do so much
7:51 drastic db reduction it would it would
7:53 be far less
7:54 and depending on how you set up your amp
7:56 and how you use like an overdrive pedal
7:58 and things like that you may not even
7:59 need to do it
8:02 but this is a technique you absolutely
8:04 must learn how to use if you're doing
8:05 metal with
8:07 uh really low tuning guitars you know
8:11 like c um drop c and lower for example
8:13 to really get the clarity out of the
8:14 guitar that you're going for so let's
8:17 see what the ultimate effect of this is
8:19 i'll bring up pro q again now you can
8:21 remember how much of a boost we had here
8:23 it was like 3 db let's see how much this
8:25 multiband is cutting down on the overall levels
8:26 levels [Music]
8:38 so on average we basically cut the
8:40 lowering energy by half now this is just
8:43 one part of the example here i just
8:45 really wanted to break down how the c4
8:47 trick actually works so that you can use
8:49 it uh in the other elements of your
8:51 processing all right so that's gonna do
8:52 it for this one guys if you enjoyed it
8:54 please leave a comment below and what
8:56 other guitar processing tips and tricks
8:58 would you like to see let me know in the
9:00 comments below and i will get on it
9:01 thanks for watching i'll see you guys in
